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Author Topic: 1982: A Broken Frame  (Read 53226 times)

Offline Angelinda

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1982: A Broken Frame
« on: 26 June 2012 - 01:37:17 »
This thread contains all news items regarding the A Broken Frame era.
At the start of 1982, DM played The Meaning of Love and See You live at their See You tour, before they had released A Broken Frame. So I'm posting the news items having to do with the See You tour here, but since it's so linked with the Speak and Spell era, I suggest you check out this thread too if you want to know everything about the Speak and Spell era.

Let me know if you have any news items that should be in here but aren't.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #1 on: 26 June 2012 - 01:38:32 »
1982-01-02 - NME (UK) - Vince Quits While Ahead

Vince Quits While Ahead
DEPECHE MODE are at present down to trio size, following the departure of the band's principal writer Vince Clarke. He apparently decided to quit the band a couple of months ago, but stayed on with them while they fulfilled their autumn commitments. Clarke will continue to write material for the group, though he will also be composing for other artists and for himself in a solo capacity.
At press time, Depeche Mode were still seeking a replacement to join them specifically for live work, and they expect to be back to quartet size for the start of their 12-concert February [1982] tour - announced in our Christmas issue. But they will remain a three-piece for recording purposes and, in this format, will have a new single titled 'See You' released by Mute Records on January 25.
New Musical Express, 2nd January, 1982

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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #2 on: 26 June 2012 - 01:39:47 »
1982-01-09 - SFX (UK) - Cassette interview Dave Gahan

I bought an mp3 of this cassette magazine interview here:

[I typed out the text:]

(...) Dave Gahan of Depeche Mode: the group who combined pop, glamour, and electronics to get the top five album with Speak and Spell.

Q: Vince Clarke's left the band, can you explain that to me?
Dave: Well, he left, there's no bad feelings between us or anything, he just left because he wasn't having time to write songs anymore and he found that he was tied down by the things that a band must do, the sort of things like touring, and photos, and interviews. And he didn't enjoy doing any of them things so he sort of came around to my house and explained to me that he would like to still write songs for us, and perhaps we would use them though, if we'd like them, but he couldn't carry on as being part of the band, really.
Q: Will you be replacing him?
Dave: Yeah, we will be rehearsing with a new member as soon as we find the successful applicant.
Q: You're in the studio at the moment, recording a single, who don't you take a track off the album?
Dave: We're not taking a track off the album not because we feel it's sort of cheating our fans, the people that are buying our records, but we've been doing the material that's on the album for a long while, we've sort of been gigging a long while before we were in the charts, and we feel it's about time we'd done something totally new, totally fresh.
Q: When will it be released?
Dave: Around January the 16th, something like that, 16th/17th.
Q: Have you got any touring plans?
Dave: Yeah, we've got a tour that starts on the 12th of February, at Cardiff, and then we play the Hammersmith Odeon on the 13th, and it goes on from there, about around 12 dates. It's not the same places, it's near Birmingham sort of thing, and near Brighton, but not sort of on top of it.
Q: You said something about doing the Hammersmith Odeon, London, this time as well. Why is that?
Dave: Well mainly we're doing it because, on the last tour we saw a lot of kids that was sort of outside our gigs and couldn't get in because they were too young, because we were playing places [that were] mostly over 18, and the people were strict about letting people in. So we feel it's only fair to let the people that are buying our records to see us. And I think that there's a chance for the younger people to see us at the Hammersmith Odeon.
Q: You're going to America next year?
Dave: Yeah, in January we're doing two dates at the Ritz.
Q: Where's that?
Dave: That's in New York. That's to coincide with the release of the new album. They're pretty comfortable. We just signed to Sire in America and they're pretty comfortable in the sense of what's going to happen over there.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #3 on: 26 June 2012 - 01:40:02 »
1982-01-21 - Smash Hits (UK) - A CLEAN BREAK

[Taken from the now-defunct website]

[Smash Hits, 21st January - 3rd February 1982. Words: Mark Ellen. Pictures: Eric Watson / Antoine Giacomoni.]
" Martin writes music around his words, whereas Vince used to write the tunes first and then fit the lyrics to them. "
Summary: An interview of all members of Depeche Mode (yes, even Vince) coinciding with the release of See You, meaning both parties have their two penn'orth about the departure of Vince. The band are eager to distance themselves from Vince's influence, and both the band and the writer are resolutely upbeat about their future prospects. Also includes a review of See You. [1451 words]

    “It’s a Him And Us situation,” according to Depeche Mode. The Him (songwriter Vince Clarke) has gone off on his own. The Us (Messrs Gahan, Gore and Fletcher) fearlessly face the future. Mark Ellen buys omelettes and alcohol. Eric Watson provides the longer-lasting snap.
    “I never expected the band to be this successful. I didn’t feel happy. Or contented. Or fulfilled. And that’s why I left.”
    Vince Clarke prods at an almost forgotten chicken omelette and then resumes his tale of woe.
    “All the things that come with success had suddenly become more important than the music. We used to get letters from fans saying: “I really like your songs”; then we got letters saying: “Where do you buy your trousers from?” Where do you go from there? There was never enough time to do anything,” he adds, mournfully. “Not with all the interviews and photo sessions.”
    The obvious reaction to all this would seem to be: what did he expect? By way of reply, Vince embarks on a succession of old music biz chestnuts about “wanting more control” and wanting to “keep playing small venues”, the kind of things The Police were always rabbiting on about ’til they found they could fill Wembley Arena three nights running.
    The reason’s obvious. When the time came to cross that crucial bridge between Basildon cult heroes and British public property, Vince simply decided he wasn’t the man for the job after all. And left. Contrary to the statement by Mute Records, he won’t even contribute songs anymore.
    He’s now devoting his time to recording with a 20-year-old blues singer called Genevieve Alison Moyet in their new electronic duo named Yazoo.
    “I met her,” he recalls, wistfully, “as she floated ashore on a boat from Afghanistan, heard her singing and formed the band…”
    I’m not so sure about this.
    “Oh, alright then – she comes from Basildon,” he grins. [1]
    If it’s any help, the rest of the band call her “Alf”.
    Success, on the other hand, seems to settle on the three remaining sets of shoulders with all the ease of a tailor-made suit. They’re just off for a brief club tour of the States, their LP’s just charted there before even being officially released, they’ve signed distribution deals just about everywhere bar Japan, they’ve a new UK single out – “the band’s best ever”, Vince modestly claims – they’ve secured his replacement, Alan Wilde, for stage work, they haven’t got a single day’s holiday in the next five months and – frankly – they’re loving it. Who’s complaining?
    Over a couple of glasses of lager in a pub in South London, they don’t appear to regard those early amateurish days in the band’s career with quite the same nostalgia as Vince: “Remember when the ‘light show’ was one neon bulb in a wooden box?” Peals of laughter rise above the blaring juke-box.
    A mention of Vince’s departure and silence is swiftly restored. “There’s a bit of a block between us… It’s a Him And Us situation”.
    It soon transpires that they’ve seen or heard little of the errant Vince since he opted to leave at the close of the last British tour. Even that was after a European tour on which he’d tended to “sit up the front of the van, saying nothing”. Noting these early warning signs, Martin began to take on the lion’s share of the song-writing which, Andy claims, “has brought us together much more as a band. Before we used to rely on Vince; now we’ve got to try a lot harder. And it’ll be different,” he adds. “Martin writes music around his words, whereas Vince used to write the tunes first and then fit the lyrics to them.”
    No bad thing, I suggest. After all, the words to “New Life” were a little on the ‘twee’ side.
    Andy can’t suppress a smile. “Words,” he declares, “were never Vince’s strong point. As a matter of fact, we were sometimes quite, er, embarrassed by his stuff! We didn’t understand a lot of his songs. He’d never tell us what they were about!”
    “I remember,” says Dave, with a distinctly pained expression, “walking through town in Basildon one night and I saw these two girls following along behind me. I knew they’d recognised me. And they start singing, y’know, (high-pitched squeak) ‘I stand still stepping on a shady street’. And I start walking a bit faster,” he laughs, “turns me collar up like this! And then… (wails) ‘And I watch that man to a stranger.’ And I’m thinking: ‘oh no, this is embarrassing! Do they understand these lyrics?! Perhaps they do and we don’t!”
    “After ‘New Life’,” Andy takes over, “a lot of people thought Depeche Mode were ‘sweet’ and ‘cute’ and everything, and we wanted to show them we could be a lot of other things as well. On the new B-side, “Reason To Be”, [2] we tried to…” pause while they all burst out laughing again… “we tried to sound… really…mean! Didn’t work though,” he admits.
    Perhaps part of the blame for the band’s slightly self-conscious image could be placed on their lack of on-stage visuals. Rocketed from virtual obscurity to three fair-sized hit singles in a matter of months, they readily admit they hadn’t had the time to adjust the live act accordingly. One minute, Croc’s in Basildon; [3] the next, the Lyceum Ballroom in London. Six times as big and no way to fill up the vast empty space behind them. No film, no slides, no backdrops. A couple of straw hats, a few suits and that was your lot. It speaks reams for the quality of their music that they still set the whole place on its feet.
    “Better than fifteen months ago,” says Dave defiantly. “You should have seen us then! Andy used to wear these plus-fours, football socks and slippers. It was so funny!” He waves an arm to silence the protesting Andy. “And Martin had half his face painted white. And Vince looked like this Vietnam refugee – he’d tanned his face, had black hair and a headband!”
    “We’ve had loads of ideas since then, but ended up using none of them. One idea was to have these drum majorettes on stage. Another was to have someone up top operating these life-sized puppets. The thing is,” he points out, faced with the eternal problem that tends to afflict motionless synthesiser bands, “you can’t have films and slides and things like that because it’s all been done before and people’ll say: ‘oh it’s not as good as The Human League’ or whoever!”
    Still, nothing’s proved quite as strenuous as shaking off the dreaded “New Romantic” tag. Dave puts it this way: “Obviously the sort of people who buy Duran Duran or Spandau Ballet records might buy ours as well, but I think we’re in a slightly different market. A slightly older market. There’s not so many New Romantics in our audience as their used to be. Not so many frilly shirts. I mean we’ve done about thirty interviews – mostly in Europe – where they say (hack German accent): ‘are you zese Bleetz Keedz please?’ Or ‘Are you zis Futurist scene?’ and getting the cameras to focus on my ‘nose earring’ as they call it. And all we can do is deny it and then they go and print this right next to these awful photos of us in frilly shirts! That was from the first photo session we ever had done and they were so bad! They keep turning up all over the place.” [4]
    “That,” asserts Martin, “is why we’ll never be like Duran Duran. ’Cos our photos are so awful!”
    These minor hurdles aside, they’re doing alright for a band who agree they were “in the right place at the right time,” though Andy’s approaching the new year with caution.
    “We realise 1982’s the most important year for us. We either establish ourselves or go to pot. What do I hope I’ll achieve?” he ponders. “A couple more hit singles in the bag and a copy of the album that doesn’t jump.”
    “We just want our fans to stay with us,” Dave decides. “Because we’ll deliver the goods, don’t you worry. Here… that might get into ‘Quotes Of The Year’ next Christmas!”
    Well, ‘Quotes Of January’ at very least.
    DEPECHE MODE: See You (Mute). Light years ahead of the rest. Listening to this you can hardly believe that – even a year back – the mention of “synthesised pop” conjured up images of doomy one-dimensional treks to the space-lab in even the most light-hearted of listener. “See You” sounds warm, colourful and surprisingly durable and even has a few Beach Boys harmonies thrown in. If it doesn’t make Number One, I’ll write and complain.
[1] - They went through school together, although not in the same year. Alison Moyet was in the same year as Martin and Andy - a year below Vince.
[2] - The B-side ended up being called "Now, This Is Fun".
[3] - Croc's is in Rayleigh. It's now called The Pink Toothbrush.
[4] - Like here for a start.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #4 on: 26 June 2012 - 01:40:42 »
1982-01-22 - Mute  - See You Press release

[Thanks to Marblehead Johnson for sharing this scan.]



Enclosed is the new Depeche Mode single (MUTE 018), out on release this January the 29th. Both 'See You' and the b side 'NOW, THIS IS FUN' are compositions from Martin Gore.

Depeche Mode are in America at the moment doing a couple of dates at the Ritz in New York. They are due back just before the release of 'See You'.

Their second tour of the U.K. is due to start on the 12th of February in Cardiff and ends with their second date at the Hammersmith Odeon, on Sunday the 28th of Feb.

For any further information. Please contact Hilde on the number below.

102 Seymour Place London W1 Tel: 01-724 2362
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #5 on: 26 June 2012 - 01:42:03 »
1982-01-30 - Sounds (UK) - See You Review

Vince splits, world gasps, Depeche Mode fade, No? No!
Lynden Barber
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #6 on: 26 June 2012 - 01:43:13 »
1982-01-xx - Depeche Mode - Information Sheet 1

[Reprinted in a Musikexpress article in 2011.]



At your request I have enclosed the DEPECHE MODE items you requested.  If there is anything else that you would like to know about the group, write to me enclosing a stampted, self addressed envelope.  The next Information Sheet should be available in a month or so.

DEPECHE MODE NEWS: Vince Clarke has left DEPECHE MODE leaving Dave, Martin and Andy to continue as a three-piece. The reason for leaving is that he wishes to concentrate on being simply a songwriter. However be replaced for live appearances.

RECORD NEWS: There will be a new single out around January 16th.  The song, although it has been recorded, does not have a title yet.  It was written by Martin and recorded by Dave, MArtin and Andy.

AVAILABLE NOW: P1-P2-P3   Autographed Photographs (with Vince)
                  F1              Factsheets on DEPECHE MODE
                  B1-B2      Badges
                  S1      Words to ALL DEPECHE MODE songs
                  TS1-TS2   T-Shirts


AVAILABLE SOON: DEPECHE MODE have recorded an interview with SFX.
          A new cassette magazine.

          An interview in The Face.

          An appearance on 'Off the Record' on Southern TV on January 18th at 6.30pm.

TOUR DATES: Jan. 22nd   New York   The Ritz
               23rd   New York   The Ritz

        Feb. 12th   Cardiff      Top Rank
           13th   London      Hammersmith Odeon
           14th   Portsmouth   Guildhall
           16th       Exeter      University
           18th   Hansley      Victoria Halls
           19th    Leeds      University
           20th   Newcastle   City Hall
           21st   Glasgow      Tiffany's
           22nd   Hull              The tower ballroom
           24th   Canterbury   University
           26th   Oxford      Polytechnic

There is no age restriction at any of these shows except Cardiff Top Rank.

                  Tanks for your support
                     Keep in touch.

1982-02-10 - Depeche Mode - See You Tour Book

FULL NAME: David Gahan
BORN: 9th May 1962
EYES: Hazel/Green
WEIGHT: 10 stone 3 lbs
HEIGHT: 5' 11"
BROTHERS AND SISTERS: Two brothers Peter and Philip and one sister Susan
EDUCATION: Barstable Comprehensive, Basildon
QUALIFICATIONS: 3' 'O' Levels and BDS Grade 1 in display
PRESENT HOME: Basildon, Essex
FAVOURITE ARTISTS: David Bowie, Roxy Music, Siouxsie and the Banshees, Simple Minds
FAVOURITE ITEM OF CLOTHING: Brown leather jacket
FAVOURITE FOOD: Sunday roast lamb
PET HATE: Political people, walking, waiting
WORST EXPERIENCE: Having black Edwardian coat stolen
FAVOURITE FILMS: 'The Deerhunter', 'Midnight Express'
FAVOURITE DRINK: Tango fizzy orange
AMBITION: To own a house and be able to drive

FULL NAME: Martin Lee Gore
BORN: 23rd July 1961
EYES: Green
WEIGHT: Approximately 10 stone
HEIGHT: 5' 8"
BROTHERS AND SISTERS: Two sisters Jackie and Karen
EDUCATION: Nicholas Comprehensive, Basildon
QUALIFICATIONS: 5' 'O' Levels, 2 'A' Levels
PREVIOUS JOBS: Bank clerk, paper boy
PREVIOUS BANDS: 'Norman and the Worms'
PRESENT HOME: Basildon, Essex
PROUDEST ACHIEVEMENT: Single reaching Top 10
FAVOURITE ARTISTS: Talking Heads, Iggy Pop, Sparks
FAVOURITE ITEM OF CLOTHING: Leather body straps, hats and sunglasses
PET HATE: Washing my hair
WORST EXPERIENCE: Being punched in the face
FAVOURITE FILMS: 'One Flew Over the Cuckoo's Nest'
FAVOURITE PASTIMES: Reading girl's magazines
AMBITION: To be a millionaire and travel the world

FULL NAME: Andrew John Fletcher
BORN: 8th July 1961
EYES: Blue
WEIGHT: 11 stone 8 lbs.
HEIGHT: 6' 3"
BROTHERS AND SISTERS: Two sisters Susan and Karen and one brother Simon
EDUCATION: Nicholas Comprehensive, Basildon
QUALIFICATIONS: 8 'O' Levels and 1 'A' Level
PREVIOUS JOBS: Insurance clerk
PRESENT HOME: Basildon, Essex
PROUDEST ACHIEVEMENT: Getting gold in Junior section of Boys Brigade
FAVOURITE ITEM OF CLOTHING: Leather jeans and white T-shirts
FAVOURITE FOOD: Cheese sandwiches
PET HATE: Pornography
WORST EXPERIENCE: Being run over by a moped
FAVOURITE FILMS: Assault on Precinct 13
FAVOURITE TV PROGRAMME: Thunderbirds & Stars on Sunday
AMBITION: To have a No. 1 Hit Single
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #7 on: 26 June 2012 - 01:44:11 »
1982-02-11 - BBC (UK) - Top Of The Pops

See You:

1982-02-12 - Time Out (UK) - Young and Clean

[Thanks to Marblehead Johnson for scanning this for this forum! The scan has been converted into text using OCR.]

Young And Clean
Depeche Mode are the latest of a long tradition of teenage pop idols. But unlike their predecessors, they and their manager have done it all themselves. Peter Silverton investigates their success.

Depeche Mode are a teenage pop conceit so neatly formed they could have been dreamed up by Brian Epstein. They're very young — none of them is over 20. Their light, sweet electronic hit singles, 'New Life' and 'Just Can't Get Enough', are heavy on singalong choruses, easy on anguish and make life seem very simple. They've even got innocent looks that are unthreatening enough for 13-year-old girls to pin up next to their pony club rosette. If synthesisers are the guitars of the 1980s, Depeche Mode are the new Merseybeats.
Ten years ago they would have been the considered creation of a pair of middle-aged Svengalis and would have kept company with the Bay City Rollers and Gary Glitter. In the shifting structure of today's music business, Depeche Mode are intelligent, self-willed, totally without pretension and created them-selves, thank you very much, in their home town of Basildon. They record for Mute, a tiny independent which started life in the Golders Green bedroom of former assistant film editor, Daniel Miller.
The very size of independents ensures that they have an easily defined identity, closely mirroring the tastes and prejudices of their founder. Mute takes its style from Daniel Miller's musical illiteracy, a taste for electronic music so simple you don't even need to know one chord to play it.
Miller is 30, grossly overweight at 19 stone, twitches nervously and smokes too much. He's the only son of elderly Austrian Jewish parents who brought their style of political theatre to Britain when Hitler decided to expand the Reich (his father, who died in the 1960s was best known for his portrayal of a Teutonic professor on the Eric Sykes show) and spent all his schooldays at a Hampstead 'progressive' — and private — day school where he shared a class with Free guitarist, Paul Kossoff and Maggie Norden of Capital Radio.
His love of movies took him to Guildford Art School, a course in film production and eventually a National Student Film Festival award for his `Don't Sit Too Close', 'a 20-minute black comedy'. While there, he played around with tape recorders and remembers being impressed by a visit to the college of the avant-garde musician, Ron Geesin, who let the students experiment with his synthesiser, then a rare and expensive toy.
'I could never express my (musical) ideas on the guitar because I couldn't play one. But punk encouraged me a lot, its simplicity, the idea that anybody could do it. And I thought electronic music was one obvious extension of punk.' After a couple of years learning how to use synthesisers by trying them out in hi-fi shops, he scooped the money together to issue Mute's first single in March 1978, 'TVOD'/'Warm Leatherette' (the latter since recorded by Grace Jones).
Billed as being by The Normal, it was Daniel and his electronic machines in the bedroom of his mother's house. It became a cult hit, selling 40,000 in Britain alone. He spent a year playing live with Robert Rental, and re-activated Mute in late 1979 for a Fad Gadget single and his own new alter ego, the Silicon Teens, under which name he had a minor hit with a hilarious tinkly-bonk update of 'Memphis'.
Miller introduced Britain to the eery German outfit DAF (since departed to Virgin amid more than a little acrimony) and Mute doubled its turnover from 1979 to 1981, from £20,000 to £40,000.
Early last year, Mute entered the world of real pop success. Seeing Depeche Mode at the Bridge House, Canning Town, playing support to Fad Gadget, he was 'impressed from the first song', signed them, issued the debut single 'Dreaming Of Me', and rapidly discovered he had on his hands a real-life version of the teenage electronic pop group he'd tried to create with the Silicon Teens. Depeche Mode have meant that Mute's 81/82 turnover will be around £750,000, 19-fold increase which has brought problems of its own. 'When they really started to take off, I was under-capitalised and I had to depend a lot on extended credit from pressing companies. Fortunately, they've been really helpful to me since I first phoned them up after reading a Melody Maker article on how to make your own record.'
Miller has held on to Depeche Mode in the face of concerted opposition from the major companies. While they have done very well together — excluding any money from songwriting the band have made over £100,000 in the last six months — both admit that staying in-dependent and away from major distributors has cost them sales. Andrew Fletcher, the most financially astute band member, explained: 'Just Can't Get Enough" went to number eight. We know that a major would've got it into the top five. We can't afford £20,000 videos or full page ads for singles like Spandau Ballet. But it does mean we have close contacts with the number one man, get it all from the horse's mouth. And our deal with Daniel is such that we do much better than we would with a major... if we're successful.'
Chris Briggs, head of A&R at Phonogram who tried very hard to sign Depeche Mode, disagrees: 'I'm not doubting Daniel's sincerity but he saw it as all black and white, with us as the black. He could never see that majors have any other motive than cashing in, that it's much more fulfilling for us to make, say, Kraftwerk successful than sell a million Buck's Fizz records.'
Depeche Mode see this as their make-or-break year. 'We've only had two hits so far: we're not established yet; we're more worried about the new single, 'See You', than we've ever been before.' No doubt Mute and Miller feel the same way.

Depeche Mode play the Hammersmith Odeon on Saturday. See Music: Rock, Folk & Jazz listings for details.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #8 on: 26 June 2012 - 01:44:32 »
1982-02-18 - Radio 1 (UK) - Dave and Fletch interview

[I typed out the text:]

Q: That saves the noise for everybody else concerned in the house?
Fletch: Yes, there was no place to practice, we didn't have any transport either, so it was quite handy.
Q: What were your ambitions like at this time? I mean, you were obviously finding it difficult to practice the way you wanted to.
Fletch: We didn't have any ambitions, really.
Q: You formed the band though, didn't you Andy?
Fletch: No, well, me and Vince did, yeah.
Q: And it was originally two guitars and one synth, I think, or you had a guitar involved.
Fletch: That's right, yeah.
Q: And Dave, you went to school which is Barnstable Comprehensive School. You originally wanted to be a window dresser, I believe?
Dave: Yeah. While I was at college, yeah, doing window dressing and fashion. And I was still at college when I met the band, I was sort of messing about with another band when we were rehearsing in the same school, and Vince phoned me up and asked me if I would sing for the band.
Q: So what was your reaction to that, straight away?
Dave: Well, I don't know, I just sort of said "Yeah, I'll come along to some rehearsals", we'd done some rehearsals and it just went from there, really. We got some gigs, and...
Q: You had no ambitions at all, as singer, you wanted to get on in the world of fasion, and such?
Dave: Well, I don't know. I wasn't that happy with what I was doing at college, because I didn't go that much, and college makes you very lazy, and the band really came along at the right time.
Q: Now you all joined together as a four piece at that time, didn't you?
Dave: Hmm-hmm.
Q: And with a great name, it seems, but really bad music, would you agree it was bad music at that time?
Dave: I don't know, we thought it was great. (laughs)
Fletch: When we listen back to old tapes, obviously we...
Dave: - Oh we would listen to that and laugh now.
Fletch: Yeah.
Q: So you still have the tapes of some of the original material then?
Fletch: Yes. When we first started, we did concerts around people's houses in Basildon, that's before Dave joined, and it was quite good. One of the gigs we'd played, we played in front of 7 people and 10 teddybears. (laughter) And we dressed up in eh...
Dave: - pyjamas (giggles)
Fletch: pyjamas. It was just a good laugh. We still got the tape of that concert. We've done a lot of gigs around people's houses.
Q: When doing your first gig, I believe one of your first gigs was in an under 12 disco, was that the one you were on about now?
Fletch: No, that was our first proper concert, that was quite funny as well.
Q: When you say "proper", the fact that you're getting paid for it, is that what you mean?
Fletch: No, we wasn't getting paid, it was a favour, because at that time we was rehearsing in this youth club, we played just for a favour. The funny thing was that kids had never seen a sythesizer before, and were just fiddling about with our knobs...
Q: And they thought it was all flash or something?
Fletch: Well yeah. It was a very small synthesizer as well. It was quite funny, though.
Q: So what influences you to use synthesizers, then, rather than the straight bass-lead-and-drums and so on? Was it just the fact that it was a new sound for you?
Dave: Martin influenced you, didn't he?
Fletch: We was all very jealous of Martin.
Dave: Martin had one and they didn't, so they thought "well we wanna get one as well".
Q: Just because he had one?
Dave: Yeah. (laughs)
Q: So why did you ditch the guitars, though? There must be a reason for that, I mean, most bands have a guitar.
Fletch: We didn't have good guitars, really, we didn't have good amps. We didn't have any transport to take us places. So it seemed a natural thing to do, really.
Q: So you're thinking of practical reasons, then?
Fletch: It's also we wanted to, as well. It just the stuff we were sort of listening to at the time, we were really into Kraftwerk and things then, so it seemed natural.
Q: How long ago was this, in fact?
Dave: 19 months, something like that.
Q: That's not too long ago, was it really?
Fletch: No. We've been very lucky to be in the right place at the right time.
Q: Is it true that you used to join in with the gospel choir at the church, just to store your equipment there?
Fletch: Well we rehearsed there for a while as well, because we got connections through Martin's girlfriend's dad is a steward at his church and we practiced there in the hall, which was quite funny really.
Q: But were you generally interested in choir singing and such? Was the vicar under false impressions or something?
Dave: Not really. Nothing to do with me. (laughs)
Fletch: No, not really, nothing to do with choir, it wasn't a church choir.
Q: Who is responsible for giving you direction for the band when you were rehearsing about 18 months ago?
Fletch: Vince was the main man. He was always the one with the push in him because he was unemployed, and he was working on time and everything, he was the one who really pushed the band.
Dave: He wanted to be successful. Really, we thought it was just a laugh at the beginning and just, the way it happened was that we were seen by Daniel and he picked us up, we released a single and it went from there.
Q: So when did it all become serious for you, how long did it take, about 6 months later?
Fletch: No. We'd left work when 'New Life' was in the charts...
Dave: At about number 20 or something.
Fletch: Yeah, that's when we left work. We were doing Top of the Pops and going back to work the next day.
Q: What sort of work were you doing then at that time?
Fletch: I was an insurance clerk in London.
Q: Oh, and you don't want to look back on that, do you?
Fletch: It was alright. (laughter) I don't think I'd wanna do it again, though. I can't see myself going back to work, really.
Dave: Not a normal job.
Fletch: No, not a normal "put in our weight" job.
Q: What about the first demo? We'll talk about 'New Life' and some of your singles in a moment, but what about the first demo tape, who persuaded you to get that together? Was it Vince again?
Fletch: Well we all did, we all chipped in some money. And we thought it was brilliant, we took it around the companies and that...
Dave: And they all hated it!
Q: So you have had your problems with record companies as well then, haven't you?
Dave/Fletch: Yeah.
Fletch: We thought it was brilliant at the time, but now when we listen back we think, we can understand...
Dave: It's very weak.
Fletch: ... We can understand why they didn't...
Dave: take us on (laughs).
Q: In fact, there's so many bands in this area that they get so dispondant when being turned down, and sometimes completely ignored, what sort of advice would you give to these bands? Just to keep on working?
Dave: Try it, just keep trying.
Fletch: I think we was in a better position because we was near London and we was playing concerts in London. I think you got a much better chance if you're in London.
Dave: You could see the scouts from record companies out all the time, they just go to the general club circuit around London and that's their job to go there every night and look at bands. So I don't think you probably get that many scouts up here.
Q: As our listeners already know you come from Basildon, was it much of a tough decision for you to move to London fulltime?
Dave: We don't, we still live in Basildon.
Q: So you commute, as such?
Dave/Fletch: Yeah, we commute.
Q: Do you find that difficult in any way?
Fletch: No, I commute for two years, that doesn't really bother me that much, Martin did as well.
Dave: I did, really, to college as well. I went to Southend, it was about the same sort of journey but it was the opposite way.
Q: what about gigs in London? Did you use the 'futurist' trend at the time to get you those gigs, was that the only reason why you were getting the gigs in London?
Dave: No, well, as far as that goes, I was dressed in the clothes that I was wearing then a couple of years before I met the band anyway, and that was just the way our friends and the people that we were going out with, dressed.
Q: Dave, tell us how 'New Life' came into being and how you recording contract that you wanted.
Dave: Ehm, well, Daniel Miller from Mute Records met us at the Bridge House, a gig in London, supporting one of his other bands, and he asked us to do 'Dreaming of Me', and we recorded 'Dreaming of Me' and that sort of went to about number 50, and then we recorded another one with Daniel and Mute, which was 'New Life', and that went to about number 11, I think. Number 11?
Fletch: Yeah.
Q: Of course there was 'Photograph'- 'Photographic'?
Dave: 'Photographic', yeah, that was on the 'Some Bizarre Album', a compilation album.
Q: But Mute Records is actually an independent label, isn't it?
Dave: Yeah, yeah.
Q: So when you were down there in London, of course 'Dreaming of Me' was doing quite well and of course 'New Life' was doing quite well, you were still into getting waving, dotted lines in front of you for contracts, but you stayed with Daniel Miller and Mute Records. At that time, did you think that Daniel Miller could give you the success that a bigger record company could give you?
Dave: Well, eh...
Fletch: He said he could (laughs).
Dave: He said he could and we trusted him, he said he could do as well as a major label could do and we trusted him and stuck with him and he's proved that he can.
Q: Is there anything that he hasn't done for you, you think?
Dave: No, I don't think so, I think he has done as much as he can. The records went as high as they would, and 'New Life' nearly went silver and 'Just Can't Get Enough' is silver.
Q: Yeah that was more of a commercial single for me.
Dave: Yeah, yeah.
Q: Was it meant as a number one single as such?
Dave: What, 'Just Can't Get Enough'?
Q: Yeah.
Dave: Not really, no. I think it was more instant like, we're very, well I'm bored by it now. It's that sort of single that, you sort of like it when you first do it and then you get very bored with that sort of record. Whereas I think our new single is more, it grows on you, and you have to hear it a few times.
Q: Yeah, you mentioned that you got bored of 'Just Can't Get Enough' and yet I think it's very, very catchy. Does this give you the impression that you'll be changing the material a lot in the near future?
Dave: I don't think so, no. I don't think we'll be changing that drastically. Obviously, you only look to improve, you don't go back, so, just hope, you know...
Q: You are a part of the 'futurist' trend, would you say that? Or would you not be a part of the 'futurist' trend?
Dave: I wouldn't say we was that big of a part of it now, because when we first began the audience were [wearing] sort of awfully shirts whereas now we get a lot of different people. Which is good, really.
Q: Because your band don't wear make-up, do you?
Dave: No (laughs).
Q: How do you feel about make-up, c'mon honestly now?
Dave: How do we feel about it? It's alright...
Fletch: We used to wear it.
Dave: We used to, when it was like, trendy to wear it, but we-
Q: So you're saying now it's not trendy to wear make-up, is that what you're saying?
Dave: Ehm, well it's a bit old hat, people, blokes have been wearing make-up and going out for years, and it's just, it's been done now.
Q: Yeah. Right, well I know you gotta go off to a soundcheck very shortly, and you're playing at the Victoria Hall tonight. We only hope that you have a great time and the two girls are pleased who are coming in today. And then of course there's Mandy over here who wanted to come and see how the interview was done and so, I hope it was okay for you, wasn't it? Good. And you are going to the concert as well. Have a nice time. Thanks for coming into the studio and thanks for being so patient.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #9 on: 26 June 2012 - 01:44:54 »
1982-02-18 - Depeche Mode - See You

See You
Video Released: 1982
Video Director: Julien Temple

At the beginning of the video, look for the megaphone on the roof of the train station. It pre-dates the "Strangelove" megaphone by 5 years. It is just a coincidence, but some fans enjoy reading much more into it.
Appears on the album:
A Broken Frame
Appears on the home video(s):
Promotional only music video - not commercially available

1982-02-19 - ITV (UK) - Razzmatazz (See You)

Dentez is looking for this in better quality. Not hosted online.

1982-02-20 - NME (UK) - Fast Forwarded To The Future!

[Thanks to Marblehead Johnson for supplying this for this forum!]

Depeche Mode
Hammersmith Palais
Paul Morley
Pic: Tony Mottram

To conclude my important three part examination of the wonderfully unbrutal and irrationally enchanting post-rock teenEEbop ideologies... BOYS AND GIRLS, the living resonance, the no mere ornament, the fresh air, the motiveless action, the living plasticity of Depeche Mode. Boys day go! A rejection of all forms of elitism! So sure of their salvation! An eclectic imagination that celebrates the untrammelled future! The fine delight!
Seen from one direction, Depeche Mode's 'innocence' and 'innocuousness' must seem a particularly irrating and sterile little thing: a tiny thing, an almost invisible, unnatural thing. Those very ill people only ever look at things from one direction and so as usual they miss out on all the special side-effects and glorious incidentals that make new pop groups like Depeche Mode so joyous and luminous and EXTREMELY INCONGRUOUS. I have learnt to look at groups like Depeche Mode from at least 100 directions, but then, I'm not ill, and I will not let Depeche Mode get me down...
I see that they are helping break down conventionalised responses to the world, re-working and revitalising with a soulful, sighing skill the impulsive, frivolous qualities of the traditional pop song, reflecting sarcastically on their own role and image of themselves, overcoming spectacularly the dismaying rockOH dogma, learning to love ironically the technology that gives them their means and gets them earning. When I look at Depeche Mode I see strange shapes, angelic precision, diamond brilliance, infinite possibilities, in actual fact I see a very NATURAL thing... sort of - and I wouldn't want this all the time, of course - an art without suffering, spiritually healthy, unceremonious, not mournful and yet confidingly friendly, an art which exists in terms of it's utmost familiarity with mankind. I don't say that Depeche Mode are making heroic efforts to extend human application: but their playful nonchalance - very Dada, don't you think - and their exaltation of love as the supreme manifestation of the pleasure principle is one hell of a smack into the eyes and teeth of the mediocrity of the universe.
As you can see, I will not let Depeche Mode get me down. I leave that to The Resigned, who bow to a very strangled kind of necessity.
Superficially tidy, the surface hides much that is authentically doubtful and unpredictable - just below the surcface of Depeche Mode are very valid and uplifting energies. Depeche Mode - as with all post-rock teenybop groups - are empty ONLY TO EYES WHICH DO NOT KNOW HOW TO DISCERN THE HIDDEN PATTERNS: i.e. those very ill people, who someHOW remain dead earnest amidst the gleaming, audacious, defiant, redemptive power of groups like Depeche Mode. I say this Depeche Mode and their particular MIRACLE OF SIMPLICITY is enough on its own to fill me with some kind of enfolding radiance - let that be known!
Anyone who could sulk all the way through Depeche Mode's kissing. tingling, IMMEDIATE show at Hammersmith Odeon must be very ill indeed: and of course their sulks don't make a damned difference, to the life inside Depeche Mode, to the new waves of energy Depeche Mode are contributing to. There is no absence of wit when Depeche Mode are on stage. "Life" they imply, "is neither good or bad: it is original." Based in this premise, their songs are pre-occupied with predictability, surprise and discovery and underpinned with an almost comic jauntiness. The songs have young bodies and an intense vivacity. Depeche Mode have refined as well as anyone the pop choreography of transience. For the moment: only a moment. The reds, greens, blues, pinks, yellows go flashing by: the fleeting moment, the kaleidoscopic light of changing environment and the circumstance, the kaleidoscopic speed of changing perception... Depeche Mode songs are thoroughly on the brink of 'a' - rather than the - next moment. So absolute: so arbitrary.
Depeche Mode left the air mild, but but spinning with colour and sensation. They wrecked the cliche that an electronic group can only be bland and wistful on stage, or that a synthesiser group empties life of spiritual content, through the sheer suggestive consistency of their transmission and the energetic business of their presentation. They did Gerry and the Pacemaker's 'I Like It' as a third encore and everything fell into place. They are the guys who want tomorrow, with the best will in the world.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #10 on: 26 June 2012 - 01:45:11 »
1982-02-25 - BBC (UK) - Top Of The Pops

See You:

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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #11 on: 26 June 2012 - 01:46:20 »
1982-02-27 - ITV (UK) - Tiswas

[I made a transcript:]

Sally James: What's actually about how it's pronounced?
Dave: Not really, now. I mean, some people call it different things, different ways of saying it, but we don't really mind, they can call it what they like.
Sally James: As long as they remember it?
Dave: Yeah.
Sally James: Where did the name come from, Martin? It's an unusual name.
Martin: It's been nucked from a French fashion magazine. Dave used to do fashion at Art College, and he found a name while we were looking for it. We didn't have a clue what to call ourselves, so...
Sally James: And that sort of leapt out from the page, did it?
Dave: Yeah.
Sally James: What does it mean, fast fashion?
Dave: Yeah, or hurried fashion, it's like a verb, if it makes sense.
Sally James: Talking about fashion actually, Dave, you've got a diamond stuck, well, different than where I thought actually, stuck through your nose. When and why did you do that?
Dave: I had it done about two years ago, I just liked the idea of it, so I went and had it done.
Sally James: But you were telling me earlier that it hurt so much that you nearly cried.
Dave: Yeah.
Sally James: Martin, you formed the group, didn't you, while you were still at school, a few years ago?
Martin: Yeah, and Vince and Andy.
Sally James: Yeah, who has obviously oviously since left, we'll talk about that in minute. Dave, how did you get involved?
Dave: Well I was messing about with another band, and we we were sort of rehearsing in the same place, and Vince phoned me up a couple of weeks after he'd seen us, and asked me to sing, and come down for some rehearsals.
Sally James: And your mum wasn't too keen on you being in a band, was she?
Dave: Well, she was a bit worried, because I was at college, and I was in my last year, and she thought that I was sort of dropping out of that and I wasn't going, but, it turned out alright, she's happy now.
Sally James: Good. Now, in June 1980, which is after you had joined, you got very much more into the sounds which you're now recognisable for, the synthesiser-sound, didn't you Martin? How did that sort of happen along?
Martin: Eh, we used to use guitars, bass guitar and rhythm guitars, but I bought a synth first, and the others were all sort of jealous, see, I had lots of switches and tiles and things, and they didn't, so they all gradually bought one.
Sally James: And do you think that is easier, Dave, for young bands starting out to get into synths rather than guitars?
Dave: I think so, yeah definitely, especially young kids, they don't have to do with their fingers, they can just sort of switch a sound and make funny noise, you know, they can get something out of that.
Sally James: You were talking about Vince having left, of course wasn't a token part of the band, because he wrote all the hitsingles. That must have been a worry, Martin, when he left?
Martin: Yeah, but we just carried on, somewhere along the way.
Sally James: And you in fact wrote the current single, so it was a tremendous challenge to you, one that have come out extremely well because the single is...
Dave: Number ten.
Sally James: -Number ten in the charts. Just before we hear the single, can you, very quickly, Dave, because we're running out of time, set a question to a really rather, really rather nice sweatshirt and a signed album. What's the question?
Dave: Right, we want to know, what was the B-side of our first single? First single?
Sally James: okay, what was the B-side of Depeche-ay Mode's first single, just to our usual address. And, thanks for dropping in, lads. We all know the usual address by now. It's Tiswas Central, P.O. Box 333 Birmingham B11TY, here's "See You" by Depeche-ay Mode!
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #12 on: 26 June 2012 - 01:49:33 »
1982-02-xx - Radio 1 (UK) - Roundtable: David Sylvian, Robert Palmer and Kid Jensen review See You (starts at 51:40)

[I typed out the text:]

Trevor Dann: ...Disco music, dance music, Depeche-ay Mode: 'See You', now.
['See You' plays]
Trevor Dann: Depeche-ay Mode and 'See You', that's a new one out on Mute. (...) Did you enjoy Depeche Mode?
Robert Palmer: I eh... There's something about that group that I like. I dunno whether it's the way the construct the tunes or the rhythm, but that particular song I didn't care for.
Trevor Dann: Yeah. They're very inventive group, or maybe their producer Daniel Miller is, I don't know which. David?
David Sylvian: Ehm, I don't know, I really like them too. I think the first or the second single they had, I can't remember what it's called now, I really liked it a lot.
Trevor Dann: New Life?
David Sylvian: No, the one that followed that.
Trevor Dann: Yeah the one with the pussycat on the front cover.
David Sylvian: Really?
Trevor Dann: Yes.
David Sylvian: Well I like them and I did like that too, even though it wasn't as immediate as like previous material.
They're certainly good fun, I think. (...)
Kid Jensen: Yes, I agree, I think the writings of the group are interesting. They had their first ever American gig this week, they played in New York, and it was a big night for them, and I think they did pretty well from the reports that we got back. The song, I think, could be a little bit stronger but I think it gets more interesting towards the end as it builds up a little.
Trevor Dann: Doesn't quite have the verve of something like "I Just Can't Get Enough" or the other one.
Kid Jensen: No.
Trevor Dann: Anyway, good group Depeche Mode, and hopefully they'll be doing a more, a more lengthy British tour in the near future.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #13 on: 26 June 2012 - 01:55:26 »
1982-02-xx - Depeche Mode - Information Sheet 2




At your request I have enclosed the DEPECHE MODE information/items.  If there is anything else you would like to know about the group please write to me.  For information Sheet No. 3/82 send me a stamped, selfaddressed envelope towards the end of February quoting the number 3/82.

DEPECHE MODE NEWS:   We are pleased to announce that the fourth member of DEPECHE MODE has been found.  The position as a keyboard player/vocalist, which was made vacant after Vince's departure before Christmas, has been filled by 22 year old Alan Wilder from London.  Alan has played with many bands and is an experienced synthesiser player.  Although his position isn't yet permanent he will be playing with DEPECHE MODE during their British and European tours.

RECORD NEWS: The latest single 'see You' c/w 'Now, This is Fun' available in 7" and 12" as from 29th January.

AVAILABLE NOW: Musical Notes Design Sweatshirts and Autographed Induvidual Photos of Dave, Martin and Andy.

AVAILABLE SOON: Watch out for DEPECHE MODE on the cover of Smash Hits as well as an interview inside.

DEPECHE MODE will be featured in New Sounds New Styles

TOUR DATES: There MAY be a warm-up gig at the 'Bridgehouse' in London about a week before the British tour.

Although they haven't yet been chosen there will be a support band on the British tour.

Since our last Information Sheet two extra dates have been added to the British tour.

            15th      Bath      University
            28th      London      Hammersmith Odeon

There is no age restriction at any of these gigs except for Cardiff Top Rank.

Posters/Programmes, Scarves, Tour T-Shirts and badges will be on sale at the concerts.

On March 18th DEPECHE MODE will be starting a month of European dates if you would like more information about these please write to me.

                  Thanks for you support
                     Keep in touch

1982-02-xx - Eclectic Rock (UK) - Depeche Mode

[Thanks to Barclay for scanning this for this forum! It can also be found here: Transcribed using OCR.]

Current line-up: Martin Gore, Andy Fletcher, Dave Gahan (all play various synthesisers)
Depeche Mode, pronounced day-pech-ay mode for some reason, is pidgin French for 'fast fashion', although what the group of that name provide musically is more in the straight electronic pop field. Andy Fletcher and Martin Gore went to school together, and knew a fellow named Vince Clarke from another local comprehensive, with whom they formed a two guitar, one synth band whose name they claim is too embarrassing to reveal, but then discovered they were in dire need of a singer, and after asking around, Dave Gahan, who attended yet another local comprehensive, was recruited in June 1980, shortly after which they discovered the name of Depeche Mode in a French fashion magazine. While it was obviously a great name (despite the mispronunciation), it didn't seem to fit the musical sound they were making, and before long, Vince, Martin and Andy decided that they would all have to play synths, which they learnt in Vince's mum's back room, listening to what they played on headphones so that the only noise they made was the awful clicking of fingernails on plastic keys, which was apparently enough to drive Mrs Clarke mad! Gigs weren't too easy in those early days, and the group's first was at an under-12s disco, which fortunately led to somewhat more interesting local dates, and eventually it was decided that a demo tape should be made with a view to winning a recording contract. As is the case with many new bands, results weren't initially encouraging, but a stroke of luck came when the band started to play `futurist nights' at a famous East London pub called The Bridge House in Canning Town. As a result of playing there, the group were able to release their first two records, a track on Stevo's 'Some Bizzare' compilation and a single, 'Dreaming Of Me', on Daniel Miller's Mute label. When the Mute single made the charts, the group were besieged with offers from record companies who had probably turned them down a few months before, but D. Mode preferred to stay with Daniel, who has since become their Svengali, and two further hits followed last year in 'New Life' and 'Just Can't Get Enough', along with TV appearances on 'Top Of The Pops' and 'Twentieth Century Box'. The end of 1981 also saw the release of the first Depeche LP, 'Speak And Spell', which made the top ten in the album chart. The band found that they would have to tour to consolidate their success, but this led to Vince Clarke becoming disenchanted with his lot, and he decided to leave for a solo career. At the same time, it became obvious that another member of the band, the tape recorder which provided the drumming for the band, was becoming too much of a limiting factor, and auditions were held to find a human drummer for stage work, the lucky man eventually turning out to be Alan Wilder, ex of The Hitmen. The start of this year saw a new look group in the studio recording their first hit of 1982, 'See You', which was acclaimed as perhaps even better than the work the group had released previously.
Singles:                                  Highest chart position
Dreaming Of Me 1981             57
New Life 1981                         11
Just Can't Get Enough 1981   8
See You 1982                         6*
*at time of going to press

Speak And Spell 1981
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #14 on: 26 June 2012 - 01:56:34 »
1982-02-xx - Strumenti Musicali (Italy) - Concert Review

La Sala dei Congressi di Francoforte è uno spazio stupendo, modernissimo, assai congeniale per i concerti di media portata. Rettangolare, pavimentata in parquet, capace di accogliere in condizioni ambientali ed acustiche perfette circa 5000 persone.
Non più di mille erano comunque presenti a questo concerto della formazione inglese, organizzato dal mensile musicale Musik Player in occasione della Musik Messe. I Depeche Mode sono tornati ad essere un quartetto, dopo aver sostituito il fuoriuscito Vince Clarke, ora protagonista del fortunato progetto Yazoo, con un altro tastierista. I quattro si dispongono l’uno accanto all’altro sul palco, semplicissimi nella strumantazione: un Moog, un PPG, un Roland Jupiter, una tastierina Yamaha.
Il cantante manovra un quattro piste TEAC che è un po’ il cardine dello spettacolo: su di esso sono incise tutte le basi ritmiche e sono contemplati intervalli predeterminati tra un pezzo ed un altro. Solo in occasione di un pezzo aperto da una tastiera, la macchina verrà formata. Il concerto subisce un evidente condizionamento da questa situazione: tutto deve essere suonato e misurato su un programma prestabilito: ma l’idea fa evidentemente parte di un progetto basato sulla semplicità di esecuzione quanto sulla precisione e, al tempo stesso, sulla demitizzazione dell’elettronica. Le pop songs dei Depeche Mode fanno uso della tecnologia che vuole essere naif in modo irreprensibile, quasi in odore di un giovanile snobismo. Ma i pezzi sono fortissimi, melodicamente e in arrangiamento, e i ragazzi mostrano in possesso di non comuni capacità vocali. Mentre il cantante si impegna in una esuberante interpretazione del ruolo dell’entertainer, gli altri restano quasi immobili davanti alle tastiere, costruendo ciascuno con un lavoro al limite del minimale, un tappeto armonico che realmente possiede cervello e comunicativa.

Stefano Pistolini

1982-02-xx - Intercord - See You press release

[Thanks to godflesh230773 from the Depmod forum for scanning this.]

Depeche Mode
a) See You
b) Now, this is fun
Art.Nr.: 111.802

"Wir fanden einfach den Klang dieser französischen Wörter gut: Depeche Mode" sinniert Vince Clark, 20, über den Namen der Band. Depeche Mode (= Modedepeche) heißt eine französische Zeitschrift. In England stehen diese beiden Worte inzwischen für einen erfrischenden neuen Elektronik-Sound.
Nach den zwei erfolgreichen Single-Hits "New Life" (Sommer 1981) und "Just Can't Get Enough" (Herbst 1981) sowie der in England vergoldeten Debut-LP "Speak & Spell" ist "See You" die erste Single, die ohne den Songwriter der Band - Vince Clark - eingespielt wurde. Die Platte wird gleichzeitig in England, Deutschland sowie erstmalig auch direkt in den Vereinigten Staaten veröffentlicht.
Entgegen der vielfach ausgeübten Praxis legte die junge Band - das Durchschnittsalter beträgt knapp 20 Jahre - Wert darauf, daß ihre neue Single nicht aus der aktuellen LP ausgekoppelt wurde.
Depeche Mode, vor knapp zwei Jahren im Städchen Basildon in der Grafschaft Sussex gegründet, besteht jetzt aus den Synthie-Spielern Martin Gore, Andrew Fletcher und dem Sänger Dave Gahan.
Mit den neuen Romantikern, mit Gruppen wie Visage oder Spandau Ballet, will Depeche Mode nicht in eine Schublade gesteckt werden - auch wenn fantasievolle Kleidung und Make-up an die herausgeputzten Vertreter dieser Musikrichtung erinnern. "Wir sind einfach eine Pop-Band", sagt Dave Gahan, der 18jährige Sänger.


Depeche Mode
a) See You
b) Now, this is fun
Product No.: 111.802

"We just liked the sound of the French words: Depeche Mode" muses Vince Clark, 20, about the band's name. Depeche Mode is named after a French magazine. In England, these two words now represent a refreshing new electronic sound.
After the two successful hit singles "New Life" (Summer of 1981) and "Just Can't Get Enough" (Fall of 1981), and the gold debut LP "Speak & Spell", "See You" is the first single, which was recorded without the songwriter of the band - Vince Clark. The record has been published simultaneously in England, Germany, and for the first time in the United States directly.
Contrary to the usual way of working, the young band - their average age is almost 20 years old - are proud to say that their new single was not coupled with the current LP.
Depeche Mode, founded just two years ago in the little town Basildon in the County of Sussex, now consists of synth players Martin Gore, Andrew Fletcher and singer Dave Gahan.
Depeche Mode do not want to be pigeonholed with the New Romantics or with groups such as Visage and Spandau Ballet - even if their fancy clothes and make-up are reminiscent of the well-dressed representatives of those genres. "We're just a pop band," says Dave Gahan, the 18 year old singer.
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